Many experimental found footage films base their meanings and effects on an interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film by the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge (1908), presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the cinematograph – obtained from the Lumière brothers – translates into a trembling of the figures on the bridge so precisely that the figurative and material spheres appear to cooperate towards a common aesthetic goal. To account for such phenomena, film theory, found footage filmmaking, and archival practice need to join forces with philosophy. More specifically, Gilbert Simondon's notion of transduction, a process based on the intersection of diverse realities within a domain, allows us to conceptualise the paradoxical interaction between the figurative and material dimensions and the unintentional meanings that arise out of it. Transduction enables the distribution of elements between these heterogeneous spheres while maintaining a certain stability within a system. In the case of archival films in which transduction occurs without prior intention or expectation, transduction can be foregrounded and prolonged. The connection between transduction and the “trembling meaning” of Opening Ceremony, understood within the wider context of camera instability in experimental found footage, will uncover the aesthetic potentialities held by the autonomous creativity of film matter and its interferences with the figurative content.

中文翻译：

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颤抖的意义：捷克档案电影中的相机不稳定和吉尔伯特西蒙东的转导

许多实验发现的镜头电影的意义和效果基于图像的形象内容与其材料技术基础之间的相互作用。这种互动在没有艺术挪用的情况下会偶然出现吗？捷克电影先驱 Jan Kříženecký 最近拍摄的一部数字化电影《切赫桥的开幕式》（1908 年）展示了这种偶然美学的练习。有一次，从卢米埃尔兄弟那里获得的电影摄影机的水平和垂直颤动转化为桥上人物的颤抖，如此精确，以至于形象和物质领域似乎朝着一个共同的审美目标合作。为了解释这种现象，电影理论、现成的电影制作和档案实践需要与哲学相结合。进一步来说，Gilbert Simondon 的转导概念，一个基于领域内不同现实交集的过程，使我们能够概念化比喻和物质维度之间的矛盾相互作用以及由此产生的无意意义。转导能够在这些异质球体之间分配元素，同时在系统内保持一定的稳定性。在没有事先意图或预期的情况下发生转导的档案电影中，转导可以被前景化和延长。转导与开幕式的“颤抖意义”之间的联系，在实验发现的镜头中相机不稳定的更广泛背景下理解，